Arik Levy

«Creation is an uncontrolled muscle» according to Arik Levy. Designer, technician, artist, photographer, video artist, Levy’s skills are multi-disci-plinary and his work can be seen in prestigious galleries and museums worldwide. Best known publicly for his furniture design for global companies, installations and limited editions, Levy nevertheless feels «The world is about people, not tables and chairs.» After a stint in Japan where Levy consolidated his ideas producing products and pieces for exhibitions, the designer returned to Europe where he contributed his artistry to another field – contemporary dance and opera by way of set design. The creation of his firm then meant a foray back to his first love, Art and indus-trial design, as well as other branches of his talents. Respected for his furniture and light designs on all continents, Levy also creates hi-tech clothing lines and accessories for firms in the Far East. Considering himself now more of a «feeling» designer, Arik Levy continues to contribute substantially to our interior and exterior milieu, his work including pub-lic sculpture – his signature Rock pieces – as well as complete environments that can be adapted for multi use. «Life is a system of signs and symbols,» he says, «where nothing is quite as it seems.»

LUSTRE AOMITSU DORÉ

Edition de 60 - 2015
Anodized aluminum
Body : D. 102,5 cm, H. 104 cm

Hervé Van Der Straeten

Duo de tables cache
Edition de 60

Ian Davenport

Ian Davenport (b. 1966, Sidcup, Kent, lives and works in London) is famous for his abstract paintings, on which colour is applied in vertical strips and ellipses. He studied at Goldsmiths’ College of Art in London, graduating in 1988. Since participating in Freeze, the exhibition curated by Damien Hirst in 1988, Davenport has been closely associated with the generation of Young British Artists. His paintings are executed by letting paint pour over canvases, boards and aluminium panels, tilted so that the final composition is determined in an interaction between gravity and the paint’s viscosity. By predetermining both materials and processes, Davenport prioritizes experimentation with the means of painting over theoretical concerns. In 1991 he was nominated for the Turner prize and in 1999 he was a prize winner in the John Moores Liverpool Exhibition.

His work has been exhibited internationally, and is included in many public collections such as the Tate, London, the Weltkunst Collection, Zurich, the Dallas Museum of Art, Texas, and the Warwick University

Twist stairs 2016

Couple de chaises 2013

Lazy Bench

Lazy Bench

2016, wood and metal
H 45 x L 320 x w 59 cm

Lazy Bench

2016, wood and metal
H 45 x L 320 x w 59 cm

Richard Höglund

American, b. 1982, New York, New York, based in Paris, France

Steeped in philosophy and language, Richard Höglund produces works on paper, videos, performances, installations, and photographs, all grounded in what he views as the most fundamental expressive form: drawing. As he explains: “Drawing is about making marks, and those marks [. . .] need to be sensitive and responsive. The marks need to be unmediated as much as possible, to be made with the least amount of obstructions between mind, hand, tool, surface.” For Höglund, drawing is as close as we can get to our thoughts before they become inevitably altered by language. He explores this omnipresent (mis)translation in works like There is a danger of an outcome that neither of us desires (2010-11), a video in which he overlays multiple voices onto his reading of a twice-translated poem, illustrating the ever-present “danger” of misunderstanding when thoughts become words.

Provenance :
Prince Elector Clemens August von Wittelsbach (1700‐1761). Commisioned for his cabinet at Schloss Augustusburg near Brühl
Prince‐Bishop of Speyer, Franz Christoph von Hutten zum Stolzenberg (1700‐1770).
Brought to Schloss Bruchsal, circa 1765
Margraves and Grand Dukes of Baden (1803‐1858). Inventoried in the collection of Schloss Bruchsal in 1808 / 1825 / 1834/35
Georges Hoentschel (1855‐1915). The three tapestries are reproduced in the catalogue of the first sale of his estate. (Galerie Georges Petit, Paris 2/04/1919, no. 361)
Acquired by a French noble collector. Thence by descent

A pair of late louis XV gilt‐bronze two‐light wall‐lights

Each surmounted by a flaming two‐handled fluted husk‐trailed vase flanked by husk trails and fluted scrolled branches, each with an acanthus‐wrapped drip‐pan below fluted vase‐shaped nozzles, above a tapering panelled shaft decorated with piaster frieze.
Paris circa 1765
42 cm high
Wall‐lights of the same form were delivered in 1763 by the Parisian marchand‐mercier Simon‐Philippe Poirier to George William Coventry, 6th Earl of Coventry (1722‐1809) for his home at Croome Court, near Pershore Worcestershire.

A giltwood Régence mirror « à parecloses »

The scrolling cresting surmounted by a helmet headed wit feathers over a canopy with birds, above a central bevelled plate within four bevelled panes with pierced cartouches at the angles.
Paris circa 1725.
200 cm high / 104 cm wide